The Design Issue
Abstract
The new cycle of ARCHIVIO continues: four thematic issues, each edited by a Guest Editor specialized in the field in order to have an expert eye to open the doors of the archives and show you where to look in these vast worlds.
Following The Fashion Issue, ARCHIVIO N°10 is dedicated to Design and edited by Jasper Morrison—an internationally renowned British designer, and Marco Sammicheli—director of the Museo del Design Italiano at Triennale Milano. Editorial direction is by Daniela Hamaui, while the art direction is by Alessandro Gori.
For our cover and first pages, Morrison assembled an imaginary archive of everyday objects from different places, made at different times, related by character or a shared understanding of what it is to be an object.
ARCHIVIO N°10, offers a mapping of the design archives international landscape at this moment in time and a privileged look at the many international design archives, allowing us to admire their eclecticism and heterogeneity, and dividing them into three sections, “Organizations”, “Brands”, and “Designers & Creatives”.
It also includes a special poster: an (in)complete mapping of the many design archives in Italy. A research by Promemoria Group, ARCHIVIO’s publisher, visually processed by Accurat. The result is a map that is also a small work of art.
Jasper Morrison,“Forget about Time, forget about Place, forget about Type, Material, Value, Quality or Condition, an archive can be anything you want it to be, there are no rules.”
Guest Editor
Glimpse of the Month
Cini Boeri—Workbook
Milan, 1963. Piazza Sant’Ambrogio
In 1963, Cini Boeri left Marco Zanuso’s studio after twelve years to open her own in Piazza Sant’Ambrogio. Zanuso was far from happy with Cini’s decision, blaming on her a lack of masculine attributes/balls to make this professional separation. The lack of confidence in her skills as an architect, which Cini will always recall in a precise but amused manner, had been shared by people in whom she had great respect and whom she would recognize peacefully, as adults, as her mentors: Zanuso, but also De Finetti, the urban architect with whom she shared months of displacement in Gignese, on Lake Maggiore, and Gio Ponti, in whose studio she spent several months as an ‘intern’: “Look, being an architect is serious stuff you know”, “You could be a painter”, they told her. Despite the skepticism of her older colleagues, Cini advanced in terms of design and thought with a disruptive force.
